October 2010
Anne Teresa De Keersmaeker's Rosas in The Song at Sadler's Wells
“At its best, it feels like birdsong in movement form: clusters of flicks and flourishes, jumps and swooping dives, with the dancers eddying in groups like starlings, or watching, perched, from the sidelines.”
Anne Teresa De Keersmaeker's Rosas in The Song at Sadler's Wells
“I’ve cut such minimalistic pieces some slack for their beguilingly trance-inducing qualities. But a trance is one thing – a coma, quite another.”
News: Happy Birthday Dancing Times
The monthly magazine Dancing Times, along with sister publication Dance Today celebrates its 100th birthday this month. Remarkably it has had just four editors in one hundred years – Philip Richardson (the… Continue Reading
News: Tanztheater Wuppertal in London
As Tanztheater Wuppertal Pina Bausch perform in Gluck’*s opera Iphigenie auf Tauris this week at *Sadler’s Wells, Sarah Crompton talks to Dominique Mercy and Robert Sturm who have taken over the join… Continue Reading
Review: Anne Teresa De Keersmaeker's Rosas in The Song at Sadler's Wells
Reviewed: 19 October The Song is a choreographic skeleton, a dance equivalent of back-to-basics by the hugely influential Belgian choreographer, Anne Teresa De Keersmaeker and Rosas, the company she created in … Continue Reading
Trisha Brown Repertory Evening at Queen Elizabeth Hall, Southbank Centre
‘Her po-faced reputation is baffling when you watch the alluring L’Amour au theatre, while Opal Loop, with Fujiko Nakaya’s cloud-like dry ice set, literally looks like heaven.’
Trisha Brown Repertory Evening at Queen Elizabeth Hall, Southbank Centre
‘L’Amour is not only a piece of ravishing beauty, but a repository of profound technical knowledge. It’s the bricklayer turned master builder.’
Trisha Brown Repertory Evening at Queen Elizabeth Hall, Southbank Centre
‘L’Amour au theatre, created last year, worked better. As singers burbled about pleasure, Brown’s dancers skipped with contemporary-dance solemnity.’
Review: Freddie Opoku-Addaie in Mis-Thread at The Place
Reviewed: 19 October **Exploring ‘the notion of the group, the outsider and the individual’ through folk, ritual, games and sign-language (all in under 30 minutes), ROH2 Associate Artist Freddie-Opok… Continue Reading
Review: Cie Nacera Belaza in Le Cri at The Place
Reviewed: 19 October The latest instalment of Dance Umbrella at The Place saw the London debut of Algerian/French choreographer Nacera Belaza with Le Cri, a duet for Belaza and her sister, Dalila. Billed as … Continue Reading
News: Arts funding cut by 30%
The total funding lost by Arts Council England over four years from April 2011 is expected to be amost £350million. The government is also asking ACE to to limit cuts to “front line” arts organisati… Continue Reading
Trisha Brown Repertory Evening at Queen Elizabeth Hall, Southbank Centre
‘Opal Loop/Cloud Installation #72503 (1980) is vintage Brown: a miasma of stage smoke acts as a backdrop to four dancers clad in either body-stockings or pyjamas and performing separately to silence. The first in Brown’s Unstable Molecular Structure series…
Celebrating Trisha Brown at Southbank Centre & Tate Modern
‘At the start of Saturday, all I knew about Trisha Brown was that she is one of the most important figures in American dance – and that For MG: the Movie is one of the most haunting pieces I have seen. By the end of a day-long celebration of the 40th annivers…
Flashdance at Shaftesbury Theatre
‘What Flashdance doesn’t do is subtlety, and the noise-level starts out blasting and goes on up. Arlene Phillips’s choreography is generous in quantity and gratuitously saucy throughout, all thrusting bums, thigh-stroking and Page Three smirks – a…
Flashdance at Shaftesbury Theatre
‘This metaphor is at the heart of Arlene Phillips’s brilliant choreography, which matches the grinding blare of 1980s heavy metal rock and street-fighting savvy – the 1983 film’s five “theatrical” songs have been boosted to a full, …